- há 3 dias
Categoria
📺
TVTranscrição
00:00A CIDADE NO BRASIL
00:56A CIDADE NO BRASIL
01:28A CIDADE NO BRASIL
01:29Tuesday, May 2nd, 1 p.m.
01:31Mickey Patrick was a dealer, a snitch, a peddler of information.
01:35His clothes were as cheap as his reputation.
01:37So when he phoned me with some information to sell,
01:39I was surprised that he wanted to meet me in the heart of Chicago's
01:42she-she high fashion district.
01:44What started out as a mild surprise culminated in stark raving terror.
01:53Oh, really?
01:56It was just a bit.
01:58It was just a bit.
02:20Hey, Mickey!
02:46Ladies and gentlemen, welcome to the Trevis Salon.
02:49And welcome to the midpoint year of the 1970s
02:53when fashion will once again become just that, fashion.
02:58I don't like long introductions.
03:00So, ladies and gentlemen, the Trevis Collection for 1975.
03:08First, Madeline, whose chocolate dress announces the end of nostalgia
03:13and the return of the cape since her matte jersey dress is in chocolate.
03:19Her jersey cape with the hand-dyed feathers is in delicious caramel.
03:25The truly liberated woman is not afraid to be a woman.
03:30No camp, no kitsch, no cartoon t-shirts.
03:34Good luck, everyone.
04:00How was the main thing planned?
04:00Melody?
04:00whose evening gown in bronze, paieta, sequins,
04:04all hand-sewn,
04:06and for that very mystifying entrance,
04:10soothful bailing.
04:11Ah!
04:41Oh, my God.
05:01Oh, my God.
05:46Oh, you scared me.
05:48What are you, a policeman?
05:50Do I look like a policeman?
05:51I'm a reporter.
05:51I covered the fashion show this afternoon.
05:53Oh, they put me in that awful cape thing
05:56with all those feathers.
05:58I was invisible.
05:59Now, do you think that'll catch on?
06:00Well, who knows?
06:01An air-root jacket had his day.
06:03Does that stairway go up the top floor?
06:05Mm-hmm.
06:05But they won't let you in there.
06:07Why?
06:07Well, the police are taking fingerprints.
06:10Ah.
06:11Why?
06:11Why do you want to go up there?
06:12Why do I want to go up there?
06:13Because it's there.
06:14Oh.
06:15Is there another way out?
06:17You know, uh,
06:19I could probably tell you more than you'd find out up there.
06:22Why?
06:22Why would you want to do a thing like that?
06:24Because I'd like the publicity.
06:27Ah, that I understand.
06:29And you want to know about the man who fell, right?
06:31Mm-hmm.
06:33I knew him.
06:35The police think that he was trying to steal some fashion designs
06:38and trying to get away through the window when he fell.
06:41What do you mean?
06:41There's a market for that kind of crud?
06:43Fashion designs?
06:44Are you kidding?
06:45That's where Trevi keeps all the designs for her next season.
06:48Hey, what kind of story could you do about me?
06:50Well, I might be able to tie into a story of the man's death.
06:52Terrific.
06:54I like the contrast.
06:56Beautiful fashion model,
06:58grim, tawdry death of a fashion spy.
07:00Yeah, yeah.
07:01Sure, well, first the spy, huh?
07:02Uh, you said you knew Mickey Patrick?
07:04Oh, indirectly.
07:05He was dating one of the models.
07:07Oh, yeah, which one?
07:09Oh, doesn't this place have the perfect texture
07:11and ambiance of a fashion layout?
07:13Yeah, it's great, it's great.
07:14Listen, what's the model's name?
07:18Look, some of the girls like to date kind of rough types.
07:21I don't know, it's chic, but it's also kind of kinky.
07:25So I don't want to tell you her name
07:26until I check with her first, okay?
07:28Yeah, sure, okay, all right.
07:29You check and I'll call you later.
07:31No, no, wait.
07:32I mean, she might be inside right now.
07:34And if she's not,
07:36I'll ask some of the other girls what they think, okay?
07:38Look, I really do want to help you.
07:41And if you're serious about this publicity business,
07:44well, you have to know something about fashion
07:45and something about me, right?
07:47I've got a whole string of titles.
07:49Miss Teen Queen,
07:51State Baton Twirling Champion,
07:534-H Club Competition, winner.
07:554-H Club winner.
07:56Yeah, is it slopping the hogs,
07:58winnowing the chaff,
08:00or is it chaffing the winnow?
08:02I raised a prize goat.
08:06Come on.
08:08Hi, Randy.
08:09Hi, Flo-Kee-Kee-Kee.
08:18Oh, I love animals.
08:19Mention that.
08:20The public likes that sort of thing, right?
08:21Yeah, sure, sure.
08:22Great.
08:22Listen, is one of the models you're talking about here?
08:24No, I don't see her.
08:26Then after the Teen Queen thing,
08:27I decided to freelance for a while,
08:29and then we're exclusive with Madame Trevi.
08:31Yeah, right at the top.
08:33Oh, no, not hardly.
08:35This session is a big step for me and for Trevi.
08:38It's for Vogue, the international edition.
08:41Uh, maybe I'd better get out of here.
08:43Oh, no, Mr. Kolschak.
08:45Just wave this around.
08:47Nobody will notice you.
08:55Well, Madame Trevi picked you for the layout.
08:57Looks like you're on your way up, huh?
08:58I was her second choice.
09:00She wanted Melody Sedgwick,
09:02but she and Melody had a big argument.
09:04Melody's leaving to do cosmetic commercials
09:07right in the middle of the showing.
09:15Oh, you see that girl over there?
09:19Oh, oh, yeah.
09:21That's Ariel, the top international model,
09:25and she never lets anyone forget it.
09:29Pardon me.
09:31Ariel won't work with you.
09:32She says you'll look alike.
09:33What?
09:34Ariel is Ariel.
09:37Why?
09:38She can't do this.
09:39Oh, yes, she can.
09:40The layout features her.
09:42It's in the contract.
09:43I'm sorry.
09:48Well, uh,
09:49about that model you were talking about.
09:54She's not here.
09:55Well, thanks a lot, Madeline.
09:57I'll be in touch with you.
09:58Thank you.
09:59I can't see we got so much accomplished.
10:02I can't see we got so much accomplished.
10:03Thank you.
10:20Oh, my God.
10:23Oh, my God!
10:25Ah! Ah! Ah! Ah! Ah! Ah!
10:3411.45 p.m.
10:35I received word that Murray Vernon, Mickey Pacek's leading competitor in the information business,
10:40was ready to deal for the same tidbits Mickey had been holding.
10:43Some pieces of paper that would blow a labor extortion racket wide open
10:46and put several garment union bosses in prison.
10:49I was to call Murray at a certain number to arrange the pass.
10:51But before he could say much of anything, we both discovered that Murray Vernon's number was up.
11:07What funny calculators.
11:13Wait, wait, wait, wait. Have we met?
11:16Don't give us none of your double-tow-coat check. We know that you got it.
11:18Oh, you do? Yeah.
11:20Murray Vernon told us.
11:21Oh, before he...
11:22Oh, where is it, coach?
11:23Well, I hate to know I'm the faintest, but it'll take me a little time to get it.
11:26How much time do you need?
11:27Oh, about, uh, about a week.
11:29What? Well, about five days.
11:32You have it over here tonight.
11:33No, no, no, no, I...
11:35Tonight?
11:35I need at least four days.
11:37I give you 24 hours.
11:38No, no, I couldn't possibly do it unless it's 72.
11:4148.
11:41Into 72.
11:4248!
11:43Hey, hey, you guys nearly got a deal.
11:45Split the difference.
11:46Make it 60 hours.
11:50Okay, the day after tomorrow night.
11:53The day after tomorrow night?
11:54Oh, like they tell us down at police headquarters?
11:56Yeah.
11:57Don't try to leave the city.
11:59Oh, no, no.
11:59Yeah, we told Murray Vernon the same thing, Kulchuk.
12:02You could run, but you can't hide.
12:03Uh-huh.
12:07Where have I heard that line before?
12:28Murray Vernon?
12:29He's a small-time informer, not even back page news.
12:31Yeah, when he called me up last night, he wanted to sell me some evidence.
12:33What evidence?
12:34Who knows?
12:35I don't know what kind of evidence.
12:36Something connected with an extortion racket in the garment industry.
12:38So why do you want to cover the store?
12:39I don't want to.
12:40I have to.
12:41Was the guys that killed Murray think that I've got her?
12:43I can get the evidence.
12:44He was trying to sell me.
12:45He gave me a deadline.
12:47An accent on dead.
12:49Well, threats are the standard situation with newsmen, Kulchuk.
12:51You know that.
12:52It goes with the territory like the high salary.
12:54Oh, boy.
12:55You're really full of it today, aren't you, Tony?
12:56Can you come over to the window?
12:59Can you get up out of your chair and walk to the window?
13:02Can you make it?
13:05Now what do I do, chump?
13:06You want me to open the window for you?
13:08Look, look, look down there in the street.
13:10Yeah.
13:10See the guy laying up against the car reading the newspaper?
13:12Yeah.
13:13Well, does he look like a scoutmaster to you?
13:14Well, look, Kul.
13:15We can call the police.
13:17They'll pick him up and shake him down.
13:18On what charge?
13:19Slow reading in public?
13:21No, they're just watching me, Tony.
13:23That's all.
13:23They're just keeping an eye on me.
13:25They gave me a time limit.
13:26Yeah, very generous.
13:27Sixty hours.
13:28Sixty hours?
13:29Mm-hmm.
13:29How did you come up with that?
13:31Arbitration.
13:32Ah.
13:34Sixty hours.
13:35You don't know what evidence they want.
13:37No.
13:37You have no leads.
13:38No.
13:39Oh, I got one lead, yeah.
13:40Yeah, see, these are the last things that Mickey Patrick saw before he died.
13:47Yeah?
13:48Yeah.
13:48He wasn't much of a photographer.
13:50No, he wasn't much of a skydiver, either.
13:53Look.
13:54Look at that, Tony.
13:55Look, those dressmaker dummies have moved, see?
13:58The shadows in different positions, see?
13:59Yeah, the cops say that Patrick was alone up there.
14:02So they were wrong.
14:03Yeah, wrong.
14:04Well, look, Carl, have you been able to connect Murray Vernon with Mickey Patrick?
14:07No, no, not yet.
14:09Now, those hoods have spooked my stringers.
14:11They act like I got leprosy.
14:13You'd be better off.
14:14You'd be safer in the leper colony.
14:15Oh, that's very funny.
14:16Have you got any leads at all?
14:18No, not yet.
14:20I have got a model that works for Trevi, checking on Patrick for me.
14:23Say, did you hear about the cat that clawed up Ariel's face, that French model?
14:27No, Carl, the only connection I have with the fashion world is Mr. Napoli's menswear.
14:31Famous maker suits that go for $59.95.
14:33Well, it looks like it, too.
14:35You should experience hot couture.
14:37That's high fashion, Tony.
14:39I mean, those people really are in another world.
14:42Well, so is Murray Vernon, and you could be joining him.
14:44No, I got plenty of time.
14:45Now, Carl, now, look, where are you going?
14:46I checked with my string of the model.
14:48Oh, Carl, listen, forget the model.
14:50Forget the model, forget the cat, forget the moving dummies.
14:52Just get back to Murray Vernon and the evidence he had.
14:55Yeah, right, Tony, right.
14:56No, no, no, no, no.
14:58I've seen that look before, Carl.
15:00You get that slack jaw, and your mind drifts off, and you don't even really hear me.
15:04What?
15:04You see, you don't hear me.
15:05You don't think about Murray Vernon.
15:07You don't care.
15:08You're going to follow something else, aren't you?
15:09You're going to follow something else.
15:10You know why?
15:12Because you are suicidal.
15:13You are self-destructive, Carl.
15:14I can't talk to you when you get emotional like this.
15:16I'm not emotional.
15:17Well, who's emotional?
15:18You know, you're going to get, you're the one that's going to get splattered all over
15:20the sidewalk.
15:21You're the one they're going to get.
15:22I don't have to worry about it.
15:24You're the one that's going to be humpy-dumpy.
15:25Don't you understand?
15:26I've got a business to worry about.
15:28Why do you have to worry about you?
15:51May 2nd, 8.45 p.m.
15:52Melody Sedgwick was exhausted after a day of writing Herd on her new career, her many offers.
16:10She wanted to soak her tensions away.
16:13She wanted to soak her tensions away.
16:55I couldn't find Madelaine and my usual stringers.
16:57were laying low, but Miss Emily managed to contact me to tell me something she knew would interest
17:02me.
17:03It had come over the wire that Melody Sedgwick, a thorough red clothes horse, had been scalded
17:09to death in her shower.
17:10Dying and maiming were coming into vogue in the fashion business.
17:13I-N-S.
17:15Independent news service?
17:16Well, it's not ladies wear weekly or women wear daily.
17:21I could have guessed that.
17:22Yeah.
17:23However, I do think our subscribers would be very interested in what's happening in the
17:27fashion field, particularly in your collection.
17:30Kind of a man-in-the-street look at haute couture.
17:33What?
17:34Haute couture.
17:35Oh, yeah, sure, that too.
17:36Yeah.
17:38I suppose a great deal of secrecy surrounds your showings and your designs.
17:43Uh, is, uh, espionage a major problem?
17:46You think of us as the Detroit automobile industry?
17:48Well, we don't produce for the masses.
17:52Uh-huh, I see.
17:53But, uh, knowing your competitors' designs would have some value, wouldn't it?
17:57Yeah, some.
17:59Cornelius, we're not doing nostalgia.
18:06Coretta's doing this in the 60s.
18:09Here, lower the belt a little and then...
18:11Fluff out the sleeves of the whole place.
18:15This will abandon.
18:18Listen, do individual models play an important part in your collection?
18:24Oh, you're speaking about Melody.
18:27Exactly.
18:28She was leaving, and you argued with her.
18:31No, no, no, no.
18:32I...
18:32She talked to me before the accident.
18:34She said she was staying on.
18:35Can you prove that?
18:38Good.
18:39Now it's out in the open.
18:41And just as I suspected, you have absurd and vague suspicions.
18:45Did you know Mickey Patrick?
18:46I never met him.
18:48I wish I could say the same about you.
18:50That's very good.
18:52You don't have any idea about why Mickey Patrick jumped off the top floor of your saloon here.
18:57Salon.
18:58Leave.
19:00Please.
19:01Yeah, sure.
19:01Please leave my salon.
19:03Yeah, sure.
19:04I don't have no more.
19:06Salon, saloon.
19:2311 p.m.
19:24It seemed very odd to me in these days of dwindling energy reserves and increased costs of public utilities
19:30that anyone, Miss Melody Sedgwick included, would be likely to die from having too much hot water in their shower.
19:58I've talked to the cops. I've talked to the reporters. I'm not going to talk to anybody else.
20:01I'll be talking to a good lawyer to cover your personal liability.
20:06What personal liability?
20:07Yours.
20:08To put it delicately, a young lady was fricasseated in one of your showers.
20:12Now, you just might be open to charges and negligence.
20:16Oh.
20:27I told the police there's nothing wrong with the shower. Water heaters first rate.
20:37You see? Like blackboard, everything works. First rate.
20:42You don't have any complaints about the hot water?
20:43Never. It's all regulated automatically. Never too hot, never too cold.
20:47Mm-hmm.
20:49Yeah?
20:50Aye. You see, it never gets hotter than that.
20:52Yeah?
20:52Just right.
20:57Just right.
21:05First class?
21:08Frank, everything is just right. It's a happy building.
21:12Yeah.
21:13You can water your own spirit.
21:22Thank you.
21:32Sorry.
21:42Before that morning, I'll start helps with aludge.
21:55Legenda Adriana Zanotto
22:13I'm taking Melody's place tomorrow.
22:15Madame Trevi wanted me to come down and try on some of the wardrobe.
22:17Oh, then you know about Melody.
22:20Oh, God, yes.
22:22And Madame Trevi, how's you doing this at this hour after what happened?
22:28No, it's all right.
22:30No, no, no, I don't think it is all right.
22:34You look pretty scared to me.
22:36Please, I don't want to talk about it, all right?
22:38Well, what do you mean you don't want to talk about it?
22:40I mean, what kind of a thing is that to say to a reporter?
22:42I've got to find out what's going on around here.
22:44There's a couple of guys with bent noses, they're looking for me.
22:46Listen to me. She won't let you find out.
22:49What do you mean she won't let me find out?
22:50She has power.
22:51What power?
22:53Madame Trevi, she's a witch.
22:55A witch? You mean like on a broomstick?
22:58Yes.
22:59Really?
23:01Well, I've never met a witch before. I'd like to talk to her.
23:04No, no, no, please. If she knew that I'd tell you, she'd kill me.
23:07No, don't worry about it. Is she upstairs?
23:08No, no, no, she's not here right now.
23:10Oh, well, she's not here.
23:13Well, I'll come back later.
23:16Witch.
23:17Yes.
23:19Take care of yourself, Madeline.
23:21I will.
23:21Sure.
23:22Sure.
23:26I will.
23:26Mr.
23:26Truth is still here.
23:53A CIDADE NO BRASIL
24:23A CIDADE NO BRASIL
24:47A CIDADE NO BRASIL
24:48o Black Arts, em este dia de hoje,
24:50do pessoas que pensam em existência de espíritos?
24:53A resposta foi simples, sim.
24:55Históricamente, o conceito de demonícidade
24:59assumiu a maior importância em Europa
25:02durante o 5º até o 17ºC.
25:05Mas como hoje?
25:08Existem espíritos em Chicago hoje, agora?
25:10Se você acredita que existem, eles existem.
25:13E, de acordo com a recentemente revista
25:15do mundo, então, nós devemos concluir
25:19que sim, de fato, existem muitas pessoas.
25:23Então, como você reconhece um espírito?
25:24Eu quero dizer que o espírito é um cackle.
25:29Você quer dizer um test de identificação?
25:32Sim, sim.
25:33Só um.
25:35O espírito não pode ser derrubado.
25:38Em Salão, eles foram colocados em caixas
25:41e colocados em caixas.
25:42Veja, cuidado.
25:43Essa capacidade de viver em caixas
25:45é a única única testa para um espírito.
25:51Então, é alguma forma de tomar um espírito de um espírito?
25:55Sim, eles devem ser publicamente acusados
25:58de um espírito.
26:01Os juízes em Salão
26:03acusaram que essa acusação
26:04aumentou um espírito de um espírito
26:06até o tempo que finalmente pode ser fechado
26:09com a morte.
26:10Oh, Charles...
26:11É tudo bem aqui em meu livro.
26:12Sim, sim.
26:13Eu comprei, sim.
26:14Oh, obrigado.
26:14Você está bem.
26:15Para R$10.95.
26:22É tudo bem.
26:23Devil ou Warlock.
26:25Let's see.
26:26Kiss the Devil on Sunday.
26:28For Sale 72 Ford.
26:30Chicanery, fraud.
26:31Nothing ever changes.
26:34These covens aren't all sincere, you know.
26:36Well, could you recommend a good coven?
26:38I don't endorse individual covens.
26:41See, you bought his book.
26:42Yeah, yeah, yeah.
26:43Why, isn't it any good?
26:44Good?
26:45It'll probably be a bestseller.
26:46Most trash is.
26:47Well, then, if you're such a schlock artist,
26:49why did they invite him to speak here?
26:51Don't ask me.
26:52Unfortunately, for those of us
26:53who are genuinely interested in the occult,
26:56witchcraft's big business.
26:57Uh-huh.
26:57Big business and free speech
26:59is what this country's all about, right?
27:00Well, I'll agree about free speech.
27:03Skip the reading.
27:04Try this coven.
27:06It saved my marriage.
27:08Friend?
27:08Even my husband's a believer now,
27:10and he's a stiff-necked Freudian psychiatrist.
27:13Mm-hmm.
27:14But don't say you heard it from me.
27:16Witchcraft does have professional ethics.
27:19Like big business.
27:37Webster's definition of a coven is concise, terse,
27:41without the usual disclaimers or qualifications.
27:43It states simply that a coven is a band or assembly of witches.
28:02Hi, I'm here to...
28:03We know why you are here.
28:06Come in.
28:14Okay, how much is it?
28:15There is no charge.
28:17A nominal contribution will be appreciated.
28:24Not that nominal.
28:28I just have a couple of questions.
28:31All your questions will be answered.
28:36What's that?
28:37A robe.
28:38You want me to get into it?
28:39Put it on.
29:07Put it on.
29:23Bye...
29:24No question.
29:26No question.
29:26So...
29:27Wow.
29:31No question.
29:35No question.
29:44Nós vamos começar a invocar com um sacrifício.
29:56O Senhor não vai vir.
30:00Speak, Griselda.
30:02O Senhor não pode ser parte da covenção.
30:06Ele é o nome da Black Witch.
30:09Isso é verdade?
30:11Não sei.
30:11Ela matou algumas pessoas, me and a outra.
30:14Ela está tentando me, tentando me matar.
30:16Ela é uma Black Witch.
30:18Não tem o poder sobre ela.
30:20Não tem o poder sobre ela. Você deve ir.
30:23Ok, ok, ok.
30:25Eu vim para ter algumas perguntas.
30:27Você disse que todas as perguntas seriam.
30:29O que eu tenho que fazer?
30:30Eu posso ajudar.
30:32Então, rapidamente, Griselda.
30:33Sim.
30:42Ok.
30:56Você deve ler o que está escrito no escritório.
31:00O que está escrito no escritório.
31:02O que está escrito no escritório.
31:05O que está escrito no escritório nascido.
31:11O que está escrito no escritório.
31:16Especialmente.
31:18Eu vou fazer o porto, dezembro de banho.
31:22Em uma arma de canha, dezembro de banho.
31:23Que os filhos, dezembro de banho, dezembro de banho,
31:24Ela está aqui.
31:25Não!
31:27Não!
31:30Ah!
31:30Ah!
31:31Ah!
31:31Ah!
31:33Ah!
31:34Ah!
31:34Ah! Ah!
31:38Ah! Ah!
32:10Chest. Closet behind witch's desk.
32:44Closet behind witch's desk.
32:58Closet behind witch's desk.
33:42Closet behind witch's desk.
33:51Closet behind witch's desk.
34:13Closet behind witch's desk.
34:25O que você fez isso?
34:28Por que você fez isso?
34:29Para você tirar sua poder, madame.
34:31Agora podemos falar sobre o Mickey Pacheco.
34:32Ele estava tentando me desistirar.
34:35E você fez isso com a espécie de espécie de espécie.
34:38Eu sei.
34:40Ela fez você pensar que eu sou a espécie.
34:42O que?
34:42Ela estava usando você para destruir as coisas que controlaram ela.
34:47Nada vai impedir ela agora.
34:49Ela vai matar nós ambos.
34:51O que você está falando?
34:52Quem vai matar nós ambos?
34:54Madeline.
34:55Madeline.
34:56Madeline, a witch.
35:24Madeline Trevi foi hospitalizada com algo que chamam a laryngeal constriction.
35:29Isso significa que ela estava chocando a morte.
35:31As pessoas não sabiam que ela estava para parar.
35:33Mas, claro, eles não tinham admitido isso.
35:35Não poderiam explicar por que ela era poderosa.
35:46Você está me derrubando, certo?
35:48Você está me derrubando.
35:50Obviamente, você não está me derrubando com a morte de morrer-verlade.
35:53Então, na noite, eles vêm aqui para você ir a larga.
36:00O que isso diz?
36:01Eles chamaram você.
36:02Isso é uma palavra muito malha.
36:04E eu tendo a concordar com ela.
36:05Oh, você é? Você deve ir embora, George.
36:09Bom, Sr. Vincenzo levou o hambúrguer aqui...
36:12e eles derrubaram no refrigerator...
36:14e derrubaram peanut butter sobre o bril.
36:16Não!
36:16Meu favorito hack!
36:18Não vai ficar como uma kidsa lunchbox.
36:21Eu desculpe, Tony, mas eu estou fazendo o melhor que eu puder.
36:24Olha, Carl, eu quero que você...
36:27Tony...
36:27Olha, Carl!
36:29Now, isso é uma ordem.
36:30Eu quero que você faça o negócio.
36:32Agora, você vai fazer o que o Murry, Verdon e o Patrick...
36:36e faz isso antes de ir para o Lake Michigan...
36:38e se encontrar todos os vestidos de cemento comodos.
36:39Tony, eu estou tentando. Eu estou tentando, Tony.
36:42Eu realmente estou.
36:43Eu estou tentando.
36:43Eu acho que é tudo interrelado, o que é.
36:46Mas eu vou chegar ao final do que é.
36:48O que é isso?
36:49Você está robando lint-traps na loja?
36:52Não, não. É um mojo bag.
36:54Um, o que?
36:55Um mojo bag.
36:56Você tem um barro de calma e um...
36:58um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um...
37:01um... um... um... um... um...
37:02um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um...
37:11um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um...
37:18um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um...
37:30um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um...
37:32um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um... um...
37:32um... um... um... um... um... um... um... um... um... um... um
37:33Esse é o ano que eu vou ser a Venetian Blind Executivo.
37:36Você tem um irmão chamado Rocco...
37:39...in o Venetian Blind Business?
37:42É um ótimo cover, Tony.
37:47Não, não, eu estou sério. Eu estou muito sério, Tony.
37:49Esse mojo bag e o som de o que é o que é um anathema para uma blanca.
37:54Boa noite, Carl.
38:00Do you think he means it?
38:02I wonder who'd take control of the bureau.
38:04Be my guest, Ron.
38:06Just remember, I like my underwear in the top drawer.
38:08Oh, Carl, there was a telephone message for you.
38:11Dr. Gravinitis from the city general wants it to come down right now.
38:15Oh, thanks, Em. Thanks very much.
38:17I've forgotten something, something I'm missing here.
38:19I've got my bell, and I've got the bear claws and the buttons.
38:23Wire! Copper wire!
38:24That's right. Witches hate copper.
38:26Oh, Carl.
38:28Yeah?
38:28I merely pointed out to you why I don't say yay or nay.
38:32I say yay, Em. Thank you, my darling, very, very much.
38:38Golchard!
38:40You've got to repair it anyway, Tony.
38:42Besides, the Venetian Blinds beside my desk over there...
38:46...have been broken by the guys. You got your first big sale. Congratulations.
38:56She's been trying to say something. Repeating your name.
39:00It's a colchard.
39:02What?
39:03What?
39:04A doll.
39:05A doll.
39:06A doll.
39:07A doll.
39:08What kind of a doll?
39:10A rag doll.
39:12A rag doll.
39:13A rag doll.
39:14Like you?
39:15She's very weak.
39:17I know. I know. I know. I know. Just give me a moment, will you? It could be important.
39:22Yes? Who?
39:25Madelaine.
39:26Madelaine.
39:28I understand.
39:29Where is the doll?
39:31In my office.
39:34In the office?
39:36Where in the office?
39:37I don't know.
39:38You don't know.
39:40You don't?
39:41Yeah, all right.
39:43All right, Dad.
39:45Yeah, I will. I will.
39:47I will, yeah.
39:54How long can you keep her alive?
39:56If she lasts the night, we'll be lucky.
39:58What was that about a doll? Voodoo?
40:01No, no, no. Witchcraft, witchcraft.
40:02I've got to cut the hair from around the doll's neck.
40:04You don't believe in witchcraft, of course.
40:06No. Of course not.
40:09But in this particular case, I'd agree with what my mother used to say about chicken soup.
40:13Well, what was that?
40:14It couldn't hurt.
40:15It couldn't hurt, Dad.
40:21Just go down in the morning. I'll walk.
40:37But you know what?
40:48O que é isso?
41:22O que é isso?
41:50O que é isso?
42:08O que é isso?
42:09O que é isso?
42:10O que é isso?
42:10O que é isso?
42:12O que é isso?
42:35O que é isso?
42:55O que é isso?
43:09O que é isso?
43:27O que é isso?
43:39O que é isso?
43:58O que é isso?
44:01O que é isso?
44:04O que é isso?
44:34O que é isso?
45:04O que é isso?
45:08O que é isso?
45:14O que é isso?
45:15O que é isso?
45:17O que é?
45:54O que é isso?
46:16O que é isso?
46:17O que é isso?
46:19O que é isso?
46:20O que é isso?
46:23O que é isso?
46:24O que é isso?
46:25O que é isso?
46:26O que é isso?
46:56O que é isso?
46:56O que é isso?
46:59O que é isso?
47:29O que é isso?
48:07O que é isso?
48:31O que é isso?
48:33O que é isso?
48:34O que é isso?
48:34O que é isso?
49:04O que é isso?
49:37O que é isso?
49:41O que é isso?
49:45O que é isso?
49:49O que é isso?
49:51O que é isso?
49:55O que é isso?
50:01O que é isso?
50:12O que é isso?
Comentários